#Music theory

[fogwarden]

Same thing as people who get into arguments about how XYZ music sucks cause it doesn't follow music theory rules.

These rules people made up (and it's important to remember that they are, in fact, all made up) are DEscriptive rather than PROscriptive. People didn't make up all these complicated rules about which chords lead into what notes and then start trying to make songs with them, the "rules" came about from people trying to find the common element in music that did things their ear liked. It was an attempt to deconstruct WHY some things sounded better than others, which of course varies from person to person and culture to culture (it is unsurprising that both of these sets of "rules" have a habit of assuming a Western European understanding of these ideas must be wholly universal and tripping over themselves when they find places in the world that don't think the same way about things.) It shouldn't be a rigid set of structures you must operate within or else, it should be a toolbox of terms and ideas you can use to better understand and describe WHY something does or doesn't work for you.

I've always viewed queer identity language in the same way. The terms weren't made so you can self-police who you let into your club or who you're allowed to find hot or anything like that, it's to help you better understand yourself and to act as shorthand when it comes to understanding others. Any use beyond that always just spins out into gatekeeping and infighting and never seems to make anything actually better for it.

In other words, queer people are jazz and brother, I don't even know what fuckin key I'm in

i hate to be that guy, but the idea that gender, sex, and sexuality are ontologically pure concepts that can be rigidly defined if we simply police our language enough (our english language, because of course) is—i cannot stress this enough—a total waste of time. you may as well spend your afternoons teaching a brick how to swim

[isl0e]

ok, little rant about a use of a leitmotif in les mis that i think has slipped under most people's radars!

so you the know the police leitmotif? the "tell me quickly what's the story/who saw what and why and where/let him give a full description/let him answer to javert!" tune that appears whenever somebody gets arrested?

now turn your ear to javert's suicide, specifically the "i am reaching but i fall/and the stars are black and cold" part. it took me a while to notice, but this whole section of the song is just a snippet of the arrest leitmotif:

but he never completes it. the snippet repeats and repeats. try as he might, he finds himself unable to sing the same old song of Justice and Law and Righteousness and Order. he's like a jammed cassette player spitting out the same second of music over and over and over and over again, unable to follow his old ways, but unable to let them go. he's stuck, but he will keep throwing himself against the walls of the cage.

javert is desperately trying to run on his old tracks of thought, but, as vicky h puts it, he experiences "the derailment of a soul, the shattering of an integrity irresistibly propelled in a straight line and dashed against God".

: )

[sivavakkiyar]

[rockrosethistle]

No but it's not just that Mariah and Joey do a perfect job at selling this scene

It's that literally everything is lining up to make us the audience think there's a very real chance Peter might die.

It's that a Hatchetfield musical has literally never let their happy couple survive the end of the show. Why should these two be any different?

It's that the Lords in Black are deadly. Linda was killed in two different timelines after becoming one's ambassador. They absolutely have the power to make this happen. This wouldn't event be the first time they got someone shot in the head.

It's that the "I'm not a loser" leitmotif has been played directly before Richie dies (sung) and Ruth dies (in the accompaniment). And then they sing it right before this scene!!

It's that the "I'm not a loser" motif itself is just an exaggerated Dies Irae, AKA the musical representation of death, and Pete is the one who first introduced the motif.

(and once again, they sing it right before this scene!)

It's that you don't even consider Max saving him as a possibility because why would he want to stop this? He wants Pete dead. In the chaos of the moment, you don't stop to think about how letting Pete die would kill him too.

It's that everything lines up so perfectly and then as a cherry on top Joey and Mariah are delivering these lines like their lives depend on it.

It's just so fucking devastating.

[thecurioustale]

I would classify the Borderlands piece as "world music" (that's the actual name of that genre).

I would classify the Potemayo piece as "blues-themed" music, i.e. a composite of music tropes that sounds reminiscent of the blues in its color and harmony but isn't actually musical or melodic in the way that blues music usually is. This style is commonly used in film and game soundtracks to give a "down-home, country-style" feeling to something without lasting too long or getting in the way of the action or dialogue.

The last piece is hard to place. It sounds like a fusion of several different musical genre ideas, almost to the point of being a pastiche. It doesn't really strike me as "musical"; more like a "soundscape." The clipping (from making it artificially too loud) is real bad; I found this hard to listen to. I don't have a strong guess to venture as to its best-fit categorical label.

what is this genre of music called?

[canmom]

long but fascinating video. the basic criticism is p much spelled out in the thumbnail there: Western music that labels itself 'Persian', 'Arabic', 'Egyptian' etc or serves as soundtracks for Middle Eastern settings is always a mishmash of wildly geographically separated regional elements that almost exclusively refers back to other Western orientalist music, but passes itself off as the real thing enough that most people have no idea what, say, Iranian music actually sounds like. it's certainly true... but the really interesting part for me is the details: Faraji breaks down the stereotypical elements of that orientalist style (the Armenian duduk, melodies that walk up and down the double harmonic major scale, a certain very specific vocal style) and describes what's missing (e.g. the many more common modes of Iranian music which use microtonal quarter tone steps, the complex ornamented articulations, the specific 'accents' of different regions) and in a fascinating bit, makes a similar mishmash of regions applied to Europe to make a parody 'Scottish' song which honestly kinda slaps. he's also got a pretty good analysis of where this stuff comes from in the affordances of Western instruments and VSTs - it's nearly impossible to play microtonal music on a guitar or piano, and Western musicians don't really learn how to do it

I don't have much to add besides 'interesting video!' but I'll definitely be using this channel a bit in the next big music theory post I'm cooking up (which will mainly be about trying to understand the process of composition). he's got another long video on Iranian music theory too and I'm looking forward to checking it out...

[stufftoinspiremetowrite]

Not gonna lie, the fact that Odysseus sang Penelope's and Telemachus' names without the melody for the first time the whole musical kind of broke me a little.

[tonyzaret]

WHY YOU LIKE THIS SONG

[sjwallin]

I spent my Xmas Eve creating my own Tumblr Bells creation! I created a short rendition of "Carol of the Bells" using the Tumblr Bells 🔔 Enjoy!

Wanna see how I did it? Check out the little behind-the-scenes video I made! :)

Here's how to do your own Tumblr Bells Carol:

Voice 1: #180_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_8_786_123456787_6_123456787_6_8_786_8_786_8_786_8_786_8_____7___8___6_________

Voice 2 (comes in 4 bars after Voice 1): #180_3_231_3_231_3_231_3_231_3_231_3_231_3_231_3_231_3_231_3_231_3_231_3_231_6_66543_33212_22326_666_3_____2_____6_____5_____3_231_3_231_3_231_3_231_6_____5___6___3_________

Voice 3 (comes in 4 bars after Voice 2): #180_6_____5_____4_____3_____2_____8_____7_____6_____6_____5_____4_____3_____6_____5_____4_____3_____6_____5_____4_____3_____3_____2___3___1_________

[scalefeathers]

Thinking once again about how Nobuo Uematsu and Masayoshi Soken are both completely amazing composers but in completely opposite directions let me explain

Disclaimer I am not a music theorist; most of music theory is black fucking magic to me. I barely know what a chord is and the circle of fifths makes me quake as though before an Elder God. I just really like both of their works and sometimes I have thoughts about things. Also this is all just my opinion, it's fine if you don't agree, etc.

So: Uematsu is first and foremost, in my opinion, an absolute master of melody. I believe it's what makes his work so iconic and makes so many of his pieces so instantly recognizable. The Final Fantasy theme, the chocobo theme, Dancing Mad, Vamo'alla Flamenco, fucking One-Winged Angel--Just from seeing those names, you've probably got one playing in your head already. You could start humming it right now. Maybe you are already.

And it makes perfect sense when you consider the era he was working in, because back in the 8-bit and 16-bit era, the melody was all you had. When you have such a tiny amount of storage space to work with, you can really play only one, maybe two notes at a time. You can't do anything that's layered, because you only have one layer to work with. I think that's why so much video game music from that era is so memorable and iconic. It's not just because you played so much Street Fighter II when you were a kid that the music is indelibly seared into your brain (though that probably doesn't hurt); it's also because Yoko Shimomura wrote really solid melodies that had nothing else competing for your aural attention (apart from the in-game sound effects, which are probably also seared into your memory). (Yoko Shimomura, btw, also composed the music for Final Fantasy XV, the entire Kingdom Hearts series, and like 50 other games over the past 40 years, another fucking icon).

But back to Uematsu: like I said, melodic genius. Even when his work is upscaled into full orchestral arrangements, that core melody is always front and center. And his affinity for melody makes even more sense when you consider that before he got into video game composing, he was writing commercial jingles. (Younger folks may not be aware, but there was a time when practically every product had to have its own theme song, and the best ones were short, snappy, and instantly memorable--and for that, again, you need a strong, simple melody. Ba da ba ba ba, I'm lovin' it.)

Compare: Soken. Soken only started at Square 12 years after Uematsu, which isn't that long in human terms (to me at least, cos I'm old), but it is a long fuckin' time in video game years. By the time he started composing for games, there was so much more you could do with game music in terms of layering, complexity, and sound, and you can tell from his work that he takes full advantage of that. His work is complex and dense, a rich layer cake of themes and motifs, all beautifully merging and weaving together, often to extraordinary effect.

And again, if you look at his pre-music career, it makes a lot of sense that he'd have that approach to music, because he first got into the games industry as a sound designer; I believe that he is the sound director for all the FFXIV expansions, as well as being the composer. So of course he'd be very aware of not just how a sound (or piece of music) works on its own, but of how it fits into the greater whole, and of how to layer and balance lots of different sounds to create something greater than the sum of its parts. And of course it makes sense that he'd bring that approach to his compositions as well.

As a consequence of this approach, though, his music often lacks the memorable melodies that characterize Uematsu's work. Like, I ground (grinded?) Dun Scaith a lot the last time it was on the Mogstone rotation, I know all the boss themes extremely well and can recognize each of them instantly. But if you asked me right now to hum one? I don't think I could. (This isn't a deficiency, to be clear; music doesn't need a prominent core melody in order to be good.)

And that's also not to say that all his music lacks iconic melodies. His vocal tracks, pretty much by definition, have to put a single melody front and center; and then on top of that (or rather, behind it), you have all that trademark Soken richness and depth. Which is probably also why his vocal tracks go so fucking hard.

I think that's also why, out of all the expansions, I like Heavensward's music the best. Most of Heavensward's score is written by Soken, but the main theme is Uematsu's, and you may notice it's basically a tasting menu of like 5 or 6 excellent, very recognizable melodies, one right after the other. And basically every piece on the Heavensward soundtrack incorporates one or more of these melodies. So it really does give you the best of both worlds, and gives the overall score a cohesion that I don't see as much with the other expansions.

TL;DR, Uematsu and Soken are both amazing composers with very different and complimentary styles that reflect their differing backgrounds and the different eras of games in which they have worked and I just think that's neat.

[the-real-google]

Friends, allies, foes...I know we've had our differences in the past but please let us work together today to beat our common enemy.

[vanillamissionary]

I don't know much about music theory but here is something I have made and that I'm definitely right about.

Obviously correct as it is, I still feel compelled to provide further explanation. See below:

Okay? Okay. Good. Please feel free to contribute- if we all add something to the chart we can get this whole music thing completely squared away in no time.

Here you go, I've started this one:

[classycookiexo]

[9nica]

VizuL: an adventure in nice colors

Mirtilo is a very troubled guy. One morning, they left home nearly without a trace, looking for their missing parents. Coincidentally, Mirtilo's cousin, Garoa, would pay her beloved relatives a visit moments later! Nobody was home, though. Come along this whimsical, colorful adventure with the two cousins seeking answers at each's own pace.

this is the game development blog for VizuL, an upcoming indie adventure and action game with bosses that conjure projectiles. there's also a story mode in which boss battles are choice-based.

there are two playable characters, Mirtilo (they/it) and Garoa (she/her) and there are different abilities, attacks and dialogue for both characters. the story is linear.

i am the main artist and only musician. the writing is in the hands of other few people beside me.

this game will tackle themes that are deeply personal to me, and can be read as basically a big piece of vent art. but the demo should be tamer and it'll go up to the 3rd stage.

by following this blog, you can keep up with not only updates, but every friday i launch an activity called #Vizul Viernes in which my followers reblog Vizul related posts such as art or screenshots.

you can also keep up with updates by joining VizuL 🌅 Studio, a discord server dedicated not only to VizuL and its updates, but also a music composer community where we hope to collab with one another!

join me, thank you so much for reading!

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

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'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[sivavakkiyar]

quoted from Mann’s Doctor Faustus